Awadh’s last Mirasin struggled to keep his music heritage alive

Umrana Niazi falls down with her in her small verandah Paan donation (Betel nut boxes) and sing Chhap Tilak Sub Cheni … Mohs Nina Milake (You have snatched my identity, my beauty, and everything that was mine … just closed my eyes with me), Sufi poet and mystic Hazrat Amir Khusru written and composed by Hazrat Amir Khusru Braj BhashA Western Hindi dialect. Her harsh voice floats in the streets of Old Lucknow, Uttar Pradesh, where she lives.

“Now people rarely tell us to sing Mehfils [gatherings]Times are changing, but I hope our songs will resonate with people. Otherwise, how will we live? “Asks a 51 -year -old man, from the Mirasi community, a group of traditional singers and dancers that are commonly found in northern India and Pakistan.”

Word ‘Miracle‘Arabic comes from the word,’Miras‘, Earth Heritage. In Awadh, Mirasin, or female singers are traditionally invited to sing on auspicious events such as Akika (where a newborn’s hair is shaved for the first time), Bismillah (when the child first reads Quran) and weddings.

Flags of a dying tradition

Umrana and her sister, 45 -year -old, are perhaps the last patron of Mirasin’s music heritage, who enjoyed great popularity in the 19th century, when cultural nationalism increased. In response to the disdain of colonial rulers for Indian culture, TalukdarIndian aristocrats began to support artists, including zamindars, Mirasin, who were associated with their patron families.

Rana Safavi, historian, translator and writer Rana Safavi says, “Although ‘respectable’ families are considered socially inferior to women, they got the protection of Nobels and Royals.” Forgotten cities of Delhi And Shahjahanabad: City resident of Old Delhi,

Mirasin played a special role during weddings as he was invited to sing at every ceremony. It will begin with a miled lesson in praise of the Prophet at the bride’s house, followed Turmeric Celebration. There were songs to welcome procession (The groom’s party) and, after Nickery (Marriage), songs were sung to bid farewell to the bride.

Mirasin also sang to the groom’s house – while he tied the headdress or SehraAnd when family members applied Anjan For his eyes. During the wedding, when the family and friends gathered to bless the newlyweds, Mirasin sang a Persian composition by Hazrat Sarmad Shaheed Shahna Mubarakbad. “Mirasin plays an important role in preserving our cultural heritage. His songs are a store in our history,” Safavi says.

Umrana and Farzana are part of the third generation of their family who keep the tradition alive. Umrana recalls a time when Mirasin was generously paid. Says Umrana, “We traveled to Aligarh for a wedding in 1996 and received IN 81,000. It was a golden time for us.”

His grandmother and mother were also invited to sing in works in Hindu homes. She says, “We sing songs about Dadra, Thumri and Savan, Basant and Holi.

Modernization, gender norms contribute to decline

The conservation of Mirasin has declined since the early 2000s. Many patrons, especially TalukdarDeath or transferred to urban areas. As society modernizes, traditional arts like Mirasin are seen as old, especially by those who are performed by women of marginalized communities.

In some areas, growing religious conservatism has discouraged music traditions, especially women who involve public performance, improperly label them. In a male-dominated society, the miracle or male singer of the miracian families who perform DargahEnjoy the high position and earn more. “We don’t pay well because we cannot perform on stage like men,” Umrana explains, saying that men also use more musical instruments.

Traditionally, women in the Mirasin community were not allowed to play any musical instruments other than Dholak, which they learned informally. “One person plays dholak while the rest of us sing. If we had more musical instruments, we can increase our songs and performances,” says Farzana.

As soon as people moved to the cities, film music started gaining popularity. “Many people prefer to play film songs in their actions rather than traditional people. I am afraid that Mirasin will eventually get away from our society,” says 45 -year -old Qawwal Riyaz Ahmed, who sings at the age of 20.

A successor inheritance

The next generation is not interested in advancing the tradition. “My children do not want to sing in people’s homes like we do. My son says that the little fame and name I have earned is not enough to fill our stomach.” “I feel sad but understand why they are reluctant to take a profession that is in danger of completely disappearing.”

Umrana, who is unmarried, supports her three sisters and brother, and struggles to end. But she cannot imagine any other work. “Singing has been my whole life. However, when I meet good people through my work, I try my hand in matchmaking. If I am lucky, I earn a generous amount from both parties,” she says.

The author is an independent journalist outside Lucknow.